An SD is a much larger instrument so it's going to have a bigger, bassier sound, with more volume than a 000. As for fingerstyle, that depends as everyone plays different material in different ways. Celtic would likely sound better on a 000 whereas American folk can be wonderful on a 12-fret dread. Comes down to what the player is trying to do.

12-Fret= richer "warmer" tone. If you'd like the trebles fatter, bass fuller, and a more "piano-like" sound overall, 12-fret is the way to go. Feels nicer on the left arm too.Does not have the traditional twang and bite of 14 fret guitars though.

An SD is a much larger instrument so it's going to have a bigger, bassier sound, with more volume than a 000. As for fingerstyle, that depends as everyone plays different material in different ways. Celtic would likely sound better on a 000 whereas American folk can be wonderful on a 12-fret dread. Comes down to what the player is trying to do.

12-Fret= richer "warmer" tone. If you'd like the trebles fatter, bass fuller, and a more "piano-like" sound overall, 12-fret is the way to go. Feels nicer on the left arm too.Does not have the traditional twang and bite of 14 fret guitars though.

This might be a tad subjective- so many things depend on the description you are making about the "sound" of any guitar.12 fret guitars offer certain things ( depending on the woods and finish), however none of my 14 fret Larrivee's have anything resembling "twang and bite".

This might be a tad subjective- so many things depend on the description you are making about the "sound" of any guitar.12 fret guitars offer certain things ( depending on the woods and finish), however none of my 14 fret Larrivee's have anything resembling "twang and bite".

I'm talking about strength in the trebles and, if we're being honest, 14 fret guitars have more of that than 12 fret ones, when all else is equal. No need to be offended by those terms, they're not meant to degrade. I'm just trying to help the thread starter understand the difference.

Also,to clarify, I'm not talking about woods and finishes, I'm referring to the difference that the 12 fret body/neck makes compared to a 14.

I'm talking about strength in the trebles and, if we're being honest, 14 fret guitars have more of that than 12 fret ones, when all else is equal. No need to be offended by those terms, they're not meant to degrade. I'm just trying to help the thread starter understand the difference.

Also,to clarify, I'm not talking about woods and finishes, I'm referring to the difference that the 12 fret body/neck makes compared to a 14.

One big difference is the location of the bridge. It is more centrally placed on a twelve fretter which, I have been told, results in better tone.

One big difference is the location of the bridge. It is more centrally placed on a twelve fretter which, I have been told, results in better tone.

Yes, the theory is; the sound board will resonate more with the placement of the bridge.I have also "heard" and read, a satin finish will give a livelier response as the multiple coats of sealer and lacquer can soak up sound vibrations.

I have also read Adi bracing transfers the sound (top) better than other spruce bracing.

I guess this can all be lumped in with the hog vs rosewood/EIR vs BZR/Sitca vs any other spruce as far as "sound".

Thus leading to the age old discussion (always a fun one) about what we (as individuals) ultimately and actually hear ( even if we can/or what the current broader mindset is.

One big difference is the location of the bridge. It is more centrally placed on a twelve fretter which, I have been told, results in better tone.

Absolutely, which is why I refer to them as a 12-fret "neck/body" rather than just a 12 fret neck. That hole and bridge placement really does create more overtones and what we call a "piano-like" tone. I love how a good 12-fretter will fill a lot of sonic space and sit behind a vocal, rather than on top of it. Those full bass lines and sweet trebles are something I just don't get as much of in 14 fret guitars, which is why I sold most of them and just have a few spectacular 12 fretters I love.

Everyone has their own tastes though. I don't expect others to like the same things I do.

Gibson's Nick Lucas model, produced from 1927 to 1938, started with a 12-fret fret neck. In 1930 they changed it to a 13-fret neck, and in 1934 they changed it to a 14-fret neck. For this particular guitar body, the 13-fret version is said to have the bridge in the sweet spot.

Gibson's Nick Lucas model, produced from 1927 to 1938, started with a 12-fret fret neck. In 1930 they changed it to a 13-fret neck, and in 1934 they changed it to a 14-fret neck. For this particular guitar body, the 13-fret version is said to have the bridge in the sweet spot.

Gibson's Nick Lucas model, produced from 1927 to 1938, started with a 12-fret fret neck. In 1930 they changed it to a 13-fret neck, and in 1934 they changed it to a 14-fret neck. For this particular guitar body, the 13-fret version is said to have the bridge in the sweet spot.

Dylan played one of the 13-fretters for awhile in the '60s.

(https://imageshack.com/a/img924/7509/rCLzBE.jpg)

I forget who, but recently (in the past 15 years or so) there was a small maker who was making 13 fret guitars.

if you can ferret one out somewhere, 00-50 (mahogany) and 00-60 (rosewood) are very fine guitars. I have a 00-60 and could not be happier with the way it plays and sounds. there were not many of that configuration built.